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Works Thomas Girtin and Joseph Mallord William Turner after (?) John Henderson

A Coastal View near Dover, probably at St Margaret's, Cliffe

1795 - 1796

Primary Image: TG1470: Thomas Girtin (1775–1802) and Joseph Mallord William Turner (1775–1851), after (?) John Henderson (1764–1843), A Coastal View near Dover, probably at St Margaret's, Cliffe, 1795–96, graphite, watercolour and pen and ink on wove paper, 21 × 26.4 cm, 8 ¼ × 10 ⅜ in. Private Collection.

Photo courtesy of Christie's (All Rights Reserved)

Description
Creator(s)
Thomas Girtin (1775-1802) and Joseph Mallord William Turner (1775-1851) after (?) John Henderson (1764-1843)
Title
  • A Coastal View near Dover, probably at St Margaret's, Cliffe
Date
1795 - 1796
Medium and Support
Graphite, watercolour and pen and ink on wove paper
Dimensions
21 × 26.4 cm, 8 ¼ × 10 ⅜ in
Inscription

'Old Dover. J.M.W. Turner' on the back

Object Type
Collaborations; Monro School Copy; Work after an Amateur Artist
Subject Terms
Coasts and Shipping; Dover and Kent

Collection
Catalogue Number
TG1470
Description Source(s)
Viewed in 2016

Provenance

Christie's, 5 July 2016, lot 92 as by Joseph Mallord William Turner and Thomas Girtin, £11,250

About this Work

This view of buildings on the shore, probably near Dover at St Margaret’s, Cliffe, displays many of the signs that mark the unique collaboration between Girtin and his contemporary Joseph Mallord William Turner (1775–1851) at the home of Dr Thomas Monro (1759–1833). Here the two artists were employed across three winters, probably between 1794 and 1797, to copy ‘the outlines or unfinished drawings of’ principally John Robert Cozens (1752–97), but other artists too, including the patron’s neighbour, the amateur John Henderson (1764–1843), who lent his ‘outlines for this purpose’ (Farington, Diary, 30 December 1794). Henderson visited Dover in the autumn of 1794 and the ‘outlines of Shipping & Boats’ he made there, described by the diarist Joseph Farington (1747–1821) as ‘Very ingenious & careful’, provided the basis for a substantial number of copies commissioned by Monro (Farington, Diary, 1 December 1795). As with the copies the artists made after the sketches of Cozens, ‘Girtin drew in outlines and Turner washed in the effects’, with Turner receiving ‘3s. 6d each night’ though ‘Girtin did not say what He had’ (Farington, Diary, 12 November 1798).1

Girtin is not known to have visited Dover and all of his views of the port and the adjacent coastline were copied after secondary sources, including his master, Edward Dayes (1763–1804). However, whilst Turner travelled to the town in 1793 and executed a series of studio watercolours after his own sketches, the majority of the Dover subjects sold from Monro’s collection, numbering as many as a hundred, were still produced after the work of other artists (Exhibitions: Christie’s, 26 June 1833; Christie’s, 1 July 1833). The source for this work has not been traced, but comparisons with the sketches used by the Monro School artists in the production of coastal scenes – such as Shipping in Dover Harbour, with the Castle Beyond (TG0799), which displays a similar interest in the landscape surrounding the port – suggest that it was an outline drawing by Henderson. The suggestion that the location depicted here is St Margaret’s at Cliffe, just along the coast to the east of Dover, is based on the similarity of the setting with the headland there, as well as the likeness between the buildings on the shore and the structure depicted in the distance of Vessels in the Harbour at Dover, with the Castle Beyond (TG0815). However, the areas of water in the foreground seen here seem to imply the presence of the channels of a harbour, and the identity of the location is therefore not established beyond all reasonable doubt.

All of the views of Dover sold at Monro’s posthumous sale in 1833 were attributed to Turner, but, following the publication of Andrew Wilton’s pioneering article in 1984, which established many of the Monro School Dover subjects as the joint productions of Girtin and Turner, examples such as this watercolour have appeared under both their names (Wilton, 1984a, pp.8–23). This is surely correct as just enough of Girtin’s characteristic pencil work is still visible under Turner’s carefully worked washes of blues and greys to be sure of his involvement in its production.

1795 - 1796

Shipping in Dover Harbour, with the Castle Beyond

TG0799

1795 - 1796

Vessels in the Harbour at Dover, with the Castle Beyond

TG0815

by Greg Smith

Place depicted

Footnotes

  1. 1 The full diary entry, giving crucial details of the artists’ work at Monro’s house, is transcribed in the Documents section of the Archive (1798 – Item 2).

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